Word: tenors
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Dates: during 1990-1999
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...same year as the Waverly, has a distinctly different tone. Berlioz wrote it for the Prix de Rome, the most prestigious composers' competition in Paris, but the judges deemed it too daring. This work tells the tale of Orpheus' death in three movements. The first is a sorrowful tenor melody in which Orpheus laments for his lost Eurydice. The second depicts the wrath of Bacchus' priestesses, who tear Orpheus to pieces when he rejects their love. Both a tenor and a women's choir are required for this movement, but this seems almost a mistake on Berlioz's part...
After intermission, the final work, Te Deum, brought the audience to its feet with thunderous applause. This piece utilized a tenor, a full choir and a children's chorus. Its seven movements are taken from a liturgical text; Berlioz composed this piece soon after his father's death, which may have influenced his subject choice. After the grand introduction, Berlioz moves into some of the most beautiful melodies of his whole repertoire. Daring and original, this work demonstrates his mature style, his full mastery of blending orchestral and choral sounds...
...outstanding memory, as demonstrated by his conducting the entire Te Deum without score. The percussion section seemed especially good, but the violins sounded on the thin side, perhaps a result of the stage acoustics. Overall, the orchestra had a warm and inviting sound, more melodious than precise. Tenor John Alers did a superb job of projecting over the orchestra during his solos, though his voice was lost in the blast of the women's choir -- from the Tangle-wood Festival Chorus -- during Orphee. However, the women, too, deserve praise for their highly energetic and emotional singing...
...first band to play from the trio of California-based groups was the Blue Meanies. With a tenor saxophone and trumpet punching out a melodic complement to the solid rhythm section, the Blue Meanies succeeded in getting the musical juices flowing for the bands to follow, but failed to do anything more in terms of excitement. A notably captivating aspect of the set was the manner in which the lighting was modified to the tempo of each song. Manually operated, the multicolored stage lights were switched on and off faster during the upbeat songs while the slower, drawn-out rhythms...
...controlled the half's tenor. He helped Harvard expire more than seven minutes off the clock (when a team has a 21 point lead, it wants to keep the clock ticking) in the fourth quarter...